KAAZE feat. Elle Vee - Opera is OUT NOW on MAXXIMIZE! Like this track? Download on Beatport or add it to your favourite Spotify/Apple Music playlist by clicking HERE: https://maxximize.release.link/opera!YT
Join our Spinnin' Records Top 100Playlist ► https://spinninrecords.lnk.to/top100!YT
KAAZE is going sky high with this Opera. Featuring Elle Vee this track is a true work of art, featuring grand opera vocals and big chords before unleashing a raving drop, full of tension and energy. Music to get the show going, and the crowd go crazy!
Follow KAAZE:
http://www.facebook.com/kaazeofficial
http://www.twitter.com/KaazeOfficial
http://www.soundcloud.com/kaazeofficial
Follow MAXXIMIZE:
https://www.facebook.com/maxximizerecordshttps://www.instagram.com/maxximizerechttps://twitter.com/MaxximizeRechttps://soundcloud.com/maxximizerecordshttp://www.maxximizerecords.com/

published:30 Jan 2018

views:54625

published:05 Jul 2011

views:251236

As a result of many requests for early opera recordings from my collection I have unearthed a few of my early Adelina Patti (1843-1919) recordings. Recorded on the scarce VICTOR "PATTI" RECORD label (dedicated solely to her recordings - a VERY unusual honor by the Victor Talking Machine Company for a precious few opera legends), this is Patti's immortal rendition of "Old Folks At Home". Well past her prime by the time recording was available, Adelina Patti was still able to provide the listener with a glimpse of her legendary voice. I must confess that I'm not a fan of opera but I do appreciate all very early recordings and I will always treasure my early VICTOR "PATTI" records. About 17 years ago I purchased a group of very early opera records that included a number of these VICTOR "PATTI" records as well as VICTOR "MELBA" records. Thanks for stopping in and I hope you enjoy the video.

published:29 Aug 2010

views:4659

Album out now: http://wnrcl.me/mirages
SopranoSabine Devieilhe’s signature operatic role, Lakmé, forms the starting point for her enticing albumMirages. A collection of opera and song in French, its theme is the exotic allure of faraway – and imagined – places and people. In addition to three numbers from Delibes’ opera, it features music by Berlioz, Debussy and Stravinsky and some rarer names: Thomas, Messager, Koechlin and Delage. Devieilhe is joined by mezzo-soprano Marianne Crebassa, pianist Alexandre Tharaud and the period-instrument orchestra Les Siècles under its founder, François-Xavier Roth.
"Sabine Devieilhe cements her reputation as one of the most exciting sopranos on the scene with this disc...Lakmé is her favourite operatic role, and the greatest hits of Delibes’ opera get luxuriously good performances here. Devieilhe is mesmerising, sounding deliciously clear and radiant, and sings with a sensuality that seems absolutely innate." -The Guardian

published:22 Nov 2017

views:5248

Album out now: https://wmgartists.com/lp1/9879/grandopera
Giacomo Meyerbeer, the master of Parisian grand opera, was hugely successful in his time and a major influence on Verdi and Wagner. His music has fascinated Diana Damrau since her student days. With her brilliant coloratura, lyricism and dramatic power, the soprano rises triumphantly to the vocal and expressive challenges of arias from 10 of his operas, singing in French, Italian and German. Two of the arias receive their world premiere recording with this album.

The Greatest Showman SoundtrackAvailable Now!
Download/Stream now at https://Atlantic.lnk.to/TheGreatestShowman
See The Greatest Showman in Theaters Now with special sing along screenings: http://www.thegreatestshowmantickets.com/sing-a-long/
Follow The Greatest Showman
https://twitter.com/GreatestShowman
https://www.facebook.com/GreatestShowman
https://www.instagram.com/greatests

Opera is part of the Western classical music tradition. It started in Italy at the end of the 16th century (with Jacopo Peri's lost Dafne, produced in Florence in 1598) and soon spread through the rest of Europe: Schütz in Germany, Lully in France, and Purcell in England all helped to establish their national traditions in the 17th century. In the 18th century, Italian opera continued to dominate most of Europe (except France), attracting foreign composers such as Handel. Opera seria was the most prestigious form of Italian opera, until Gluck reacted against its artificiality with his "reform" operas in the 1760s. Today the most renowned figure of late 18th century opera is Mozart, who began with opera seria but is most famous for his Italian comic operas, especially The Marriage of Figaro (Le Nozze Di Figaro), Don Giovanni, and Così fan tutte, as well as The Magic Flute (Die Zauberflöte), a landmark in the German tradition.

In 1946, fifty years after the opera's premiere, Toscanini conducted a performance of it on radio with the NBC Symphony Orchestra. This performance was eventually released on records and on Compact Disc. It is the only recording of a Puccini opera by its original conductor (see Recordings below).

Origin of the story

According to its title page, the libretto of La bohème is based on Henri Murger's novel, Scènes de la vie de bohème, a collection of vignettes portraying young bohemians living in the Latin Quarter of Paris in the 1840s. Although usually called a novel, it has no unified plot. Like the 1849 play by Murger and Théodore Barrière, the opera's libretto focuses on the relationship between Rodolfo and Mimì, and ends with Mimì's death. Also like the play, the libretto combines two characters from the novel, Mimì and Francine, into a single Mimì character. Early in the composition stage Puccini was in dispute with the composer Leoncavallo, who said that he had offered Puccini a completed libretto and felt that Puccini should defer to him. Puccini responded that he had had no idea of Leoncavallo's interest and that having been working on his own version for some time, he felt that he could not oblige him by discontinuing with the opera. Leoncavallo completed his own version in which Marcello was sung by a tenor and Rodolfo by a baritone. It was unsuccessful and is now rarely performed.

Adelina Patti

Adelina Patti (10 February 1843–27 September 1919) was a highly acclaimed 19th-century opera singer, earning huge fees at the height of her career in the music capitals of Europe and America. She first sang in public as a child in 1851, and gave her last performance before an audience in 1914. Along with her near contemporaries Jenny Lind and Thérèse Tietjens, Patti remains one of the most famous sopranos in history, owing to the purity and beauty of her lyrical voice and the unmatched quality of her bel canto technique.

The composer Giuseppe Verdi, writing in 1877, described her as being perhaps the finest singer who had ever lived and a "stupendous artist". Verdi's admiration for Patti's talent was shared by numerous music critics and social commentators of her era.

Biography

She was born Adelina Juana Maria Patti, in Madrid, the last child of tenor Salvatore Patti (1800–1869) and soprano Caterina Barilli (died 1870). Her Italian parents were working in Madrid, Spain, at the time of her birth. Because her father came from Sicily, Patti was born a subject of the King of the Two Sicilies. She later carried a French passport, as her first two husbands were French.

KAAZE feat. Elle Vee - Opera (Official Music Video)

KAAZE feat. Elle Vee - Opera is OUT NOW on MAXXIMIZE! Like this track? Download on Beatport or add it to your favourite Spotify/Apple Music playlist by clicking HERE: https://maxximize.release.link/opera!YT
Join our Spinnin' Records Top 100Playlist ► https://spinninrecords.lnk.to/top100!YT
KAAZE is going sky high with this Opera. Featuring Elle Vee this track is a true work of art, featuring grand opera vocals and big chords before unleashing a raving drop, full of tension and energy. Music to get the show going, and the crowd go crazy!
Follow KAAZE:
http://www.facebook.com/kaazeofficial
http://www.twitter.com/KaazeOfficial
http://www.soundcloud.com/kaazeofficial
Follow MAXXIMIZE:
https://www.facebook.com/maxximizerecordshttps://www.instagram.com/maxximizerechttps://twitter.com/MaxximizeRechttps://soundcloud.com/maxximizerecordshttp://www.maxximizerecords.com/

As a result of many requests for early opera recordings from my collection I have unearthed a few of my early Adelina Patti (1843-1919) recordings. Recorded on the scarce VICTOR "PATTI" RECORD label (dedicated solely to her recordings - a VERY unusual honor by the Victor Talking Machine Company for a precious few opera legends), this is Patti's immortal rendition of "Old Folks At Home". Well past her prime by the time recording was available, Adelina Patti was still able to provide the listener with a glimpse of her legendary voice. I must confess that I'm not a fan of opera but I do appreciate all very early recordings and I will always treasure my early VICTOR "PATTI" records. About 17 years ago I purchased a group of very early opera records that included a number of these VICTOR "PATTI" records as well as VICTOR "MELBA" records. Thanks for stopping in and I hope you enjoy the video.

3:54

Sabine Devieilhe records 'Mirages' - French opera arias, Lakmé

Sabine Devieilhe records 'Mirages' - French opera arias, Lakmé

Sabine Devieilhe records 'Mirages' - French opera arias, Lakmé

Album out now: http://wnrcl.me/mirages
SopranoSabine Devieilhe’s signature operatic role, Lakmé, forms the starting point for her enticing albumMirages. A collection of opera and song in French, its theme is the exotic allure of faraway – and imagined – places and people. In addition to three numbers from Delibes’ opera, it features music by Berlioz, Debussy and Stravinsky and some rarer names: Thomas, Messager, Koechlin and Delage. Devieilhe is joined by mezzo-soprano Marianne Crebassa, pianist Alexandre Tharaud and the period-instrument orchestra Les Siècles under its founder, François-Xavier Roth.
"Sabine Devieilhe cements her reputation as one of the most exciting sopranos on the scene with this disc...Lakmé is her favourite operatic role, and the greatest hits of Delibes’ opera get luxuriously good performances here. Devieilhe is mesmerising, sounding deliciously clear and radiant, and sings with a sensuality that seems absolutely innate." -The Guardian

Album out now: https://wmgartists.com/lp1/9879/grandopera
Giacomo Meyerbeer, the master of Parisian grand opera, was hugely successful in his time and a major influence on Verdi and Wagner. His music has fascinated Diana Damrau since her student days. With her brilliant coloratura, lyricism and dramatic power, the soprano rises triumphantly to the vocal and expressive challenges of arias from 10 of his operas, singing in French, Italian and German. Two of the arias receive their world premiere recording with this album.

The Greatest Showman - Never Enough [Official Lyric Video]

The Greatest Showman SoundtrackAvailable Now!
Download/Stream now at https://Atlantic.lnk.to/TheGreatestShowman
See The Greatest Showman in Theaters Now with special sing along screenings: http://www.thegreatestshowmantickets.com/sing-a-long/
Follow The Greatest Showman
https://twitter.com/GreatestShowman
https://www.facebook.com/GreatestShowman
https://www.instagram.com/greatests

Long Arms Records "Just Opera"

LongArmsRecords CDLA97030 "Just Opera"
"Just Opera" is the last this kind a Kuryokhin's project. He didn't finish it, he only created conception and dramaturgy of this record.
Everything else was made by Vyacheslav Guyvoronsky, musician, who closely worked with Sergey for a long time. OPERA is a collection of Kuryokhin's works for theatre and cinema. Good films and performances, but we didn't mention what - if you read this text from the beginning you must understand why. For a pity we didn't mention all the musicians. Recordings were made in different time and places with many different musicians - from persons close to Sergey to accidental session men - and their names were lost... Being afraid to convey anybody was the reason for us to 'forget' everybody. One can, by the way, understand that in spite of more or less work of different performers all the music on this CD was created by one person - Sergey Kuryokhin. We all (and musicians too) feel a great respect to him and dedicate this work to his memory.
composer and producer: Sergey Kuryokhin executive producer: Nick Dmitriev

KAAZE feat. Elle Vee - Opera (Official Music Video)

KAAZE feat. Elle Vee - Opera is OUT NOW on MAXXIMIZE! Like this track? Download on Beatport or add it to your favourite Spotify/Apple Music playlist by clicking HERE: https://maxximize.release.link/opera!YT
Join our Spinnin' Records Top 100Playlist ► https://spinninrecords.lnk.to/top100!YT
KAAZE is going sky high with this Opera. Featuring Elle Vee this track is a true work of art, featuring grand opera vocals and big chords before unleashing a raving drop, full of tension and energy. Music to get the show going, and the crowd go crazy!
Follow KAAZE:
http://www.facebook.com/kaazeofficial
http://www.twitter.com/KaazeOfficial
http://www.soundcloud.com/kaazeofficial
Follow MAXXIMIZE:
https://www.facebook.com/maxximizerecordshttps://www.instagram.com/maxximizerechttps://twitter.com/Maxxim...

published: 30 Jan 2018

(HD) The Shawshank Redemption (Mozart Opera Scene)

As a result of many requests for early opera recordings from my collection I have unearthed a few of my early Adelina Patti (1843-1919) recordings. Recorded on the scarce VICTOR "PATTI" RECORD label (dedicated solely to her recordings - a VERY unusual honor by the Victor Talking Machine Company for a precious few opera legends), this is Patti's immortal rendition of "Old Folks At Home". Well past her prime by the time recording was available, Adelina Patti was still able to provide the listener with a glimpse of her legendary voice. I must confess that I'm not a fan of opera but I do appreciate all very early recordings and I will always treasure my early VICTOR "PATTI" records. About 17 years ago I purchased a group of very early opera records that included a number of these VICTOR "P...

published: 29 Aug 2010

Sabine Devieilhe records 'Mirages' - French opera arias, Lakmé

Album out now: http://wnrcl.me/mirages
SopranoSabine Devieilhe’s signature operatic role, Lakmé, forms the starting point for her enticing albumMirages. A collection of opera and song in French, its theme is the exotic allure of faraway – and imagined – places and people. In addition to three numbers from Delibes’ opera, it features music by Berlioz, Debussy and Stravinsky and some rarer names: Thomas, Messager, Koechlin and Delage. Devieilhe is joined by mezzo-soprano Marianne Crebassa, pianist Alexandre Tharaud and the period-instrument orchestra Les Siècles under its founder, François-Xavier Roth.
"Sabine Devieilhe cements her reputation as one of the most exciting sopranos on the scene with this disc...Lakmé is her favourite operatic role, and the greatest hits of Delibes’ opera get...

Album out now: https://wmgartists.com/lp1/9879/grandopera
Giacomo Meyerbeer, the master of Parisian grand opera, was hugely successful in his time and a major influence on Verdi and Wagner. His music has fascinated Diana Damrau since her student days. With her brilliant coloratura, lyricism and dramatic power, the soprano rises triumphantly to the vocal and expressive challenges of arias from 10 of his operas, singing in French, Italian and German. Two of the arias receive their world premiere recording with this album.

The Greatest Showman - Never Enough [Official Lyric Video]

The Greatest Showman SoundtrackAvailable Now!
Download/Stream now at https://Atlantic.lnk.to/TheGreatestShowman
See The Greatest Showman in Theaters Now with special sing along screenings: http://www.thegreatestshowmantickets.com/sing-a-long/
Follow The Greatest Showman
https://twitter.com/GreatestShowman
https://www.facebook.com/GreatestShowman
https://www.instagram.com/greatests

Long Arms Records "Just Opera"

LongArmsRecords CDLA97030 "Just Opera"
"Just Opera" is the last this kind a Kuryokhin's project. He didn't finish it, he only created conception and dramaturgy of this record.
Everything else was made by Vyacheslav Guyvoronsky, musician, who closely worked with Sergey for a long time. OPERA is a collection of Kuryokhin's works for theatre and cinema. Good films and performances, but we didn't mention what - if you read this text from the beginning you must understand why. For a pity we didn't mention all the musicians. Recordings were made in different time and places with many different musicians - from persons close to Sergey to accidental session men - and their names were lost... Being afraid to convey anybody was the reason for us to 'forget' everybody. One can, by the way, under...

KAAZE feat. Elle Vee - Opera is OUT NOW on MAXXIMIZE! Like this track? Download on Beatport or add it to your favourite Spotify/Apple Music playlist by clicking HERE: https://maxximize.release.link/opera!YT
Join our Spinnin' Records Top 100Playlist ► https://spinninrecords.lnk.to/top100!YT
KAAZE is going sky high with this Opera. Featuring Elle Vee this track is a true work of art, featuring grand opera vocals and big chords before unleashing a raving drop, full of tension and energy. Music to get the show going, and the crowd go crazy!
Follow KAAZE:
http://www.facebook.com/kaazeofficial
http://www.twitter.com/KaazeOfficial
http://www.soundcloud.com/kaazeofficial
Follow MAXXIMIZE:
https://www.facebook.com/maxximizerecordshttps://www.instagram.com/maxximizerechttps://twitter.com/MaxximizeRechttps://soundcloud.com/maxximizerecordshttp://www.maxximizerecords.com/

KAAZE feat. Elle Vee - Opera is OUT NOW on MAXXIMIZE! Like this track? Download on Beatport or add it to your favourite Spotify/Apple Music playlist by clicking HERE: https://maxximize.release.link/opera!YT
Join our Spinnin' Records Top 100Playlist ► https://spinninrecords.lnk.to/top100!YT
KAAZE is going sky high with this Opera. Featuring Elle Vee this track is a true work of art, featuring grand opera vocals and big chords before unleashing a raving drop, full of tension and energy. Music to get the show going, and the crowd go crazy!
Follow KAAZE:
http://www.facebook.com/kaazeofficial
http://www.twitter.com/KaazeOfficial
http://www.soundcloud.com/kaazeofficial
Follow MAXXIMIZE:
https://www.facebook.com/maxximizerecordshttps://www.instagram.com/maxximizerechttps://twitter.com/MaxximizeRechttps://soundcloud.com/maxximizerecordshttp://www.maxximizerecords.com/

As a result of many requests for early opera recordings from my collection I have unearthed a few of my early Adelina Patti (1843-1919) recordings. Recorded on...

As a result of many requests for early opera recordings from my collection I have unearthed a few of my early Adelina Patti (1843-1919) recordings. Recorded on the scarce VICTOR "PATTI" RECORD label (dedicated solely to her recordings - a VERY unusual honor by the Victor Talking Machine Company for a precious few opera legends), this is Patti's immortal rendition of "Old Folks At Home". Well past her prime by the time recording was available, Adelina Patti was still able to provide the listener with a glimpse of her legendary voice. I must confess that I'm not a fan of opera but I do appreciate all very early recordings and I will always treasure my early VICTOR "PATTI" records. About 17 years ago I purchased a group of very early opera records that included a number of these VICTOR "PATTI" records as well as VICTOR "MELBA" records. Thanks for stopping in and I hope you enjoy the video.

As a result of many requests for early opera recordings from my collection I have unearthed a few of my early Adelina Patti (1843-1919) recordings. Recorded on the scarce VICTOR "PATTI" RECORD label (dedicated solely to her recordings - a VERY unusual honor by the Victor Talking Machine Company for a precious few opera legends), this is Patti's immortal rendition of "Old Folks At Home". Well past her prime by the time recording was available, Adelina Patti was still able to provide the listener with a glimpse of her legendary voice. I must confess that I'm not a fan of opera but I do appreciate all very early recordings and I will always treasure my early VICTOR "PATTI" records. About 17 years ago I purchased a group of very early opera records that included a number of these VICTOR "PATTI" records as well as VICTOR "MELBA" records. Thanks for stopping in and I hope you enjoy the video.

Album out now: http://wnrcl.me/mirages
SopranoSabine Devieilhe’s signature operatic role, Lakmé, forms the starting point for her enticing albumMirages. A collection of opera and song in French, its theme is the exotic allure of faraway – and imagined – places and people. In addition to three numbers from Delibes’ opera, it features music by Berlioz, Debussy and Stravinsky and some rarer names: Thomas, Messager, Koechlin and Delage. Devieilhe is joined by mezzo-soprano Marianne Crebassa, pianist Alexandre Tharaud and the period-instrument orchestra Les Siècles under its founder, François-Xavier Roth.
"Sabine Devieilhe cements her reputation as one of the most exciting sopranos on the scene with this disc...Lakmé is her favourite operatic role, and the greatest hits of Delibes’ opera get luxuriously good performances here. Devieilhe is mesmerising, sounding deliciously clear and radiant, and sings with a sensuality that seems absolutely innate." -The Guardian

Album out now: http://wnrcl.me/mirages
SopranoSabine Devieilhe’s signature operatic role, Lakmé, forms the starting point for her enticing albumMirages. A collection of opera and song in French, its theme is the exotic allure of faraway – and imagined – places and people. In addition to three numbers from Delibes’ opera, it features music by Berlioz, Debussy and Stravinsky and some rarer names: Thomas, Messager, Koechlin and Delage. Devieilhe is joined by mezzo-soprano Marianne Crebassa, pianist Alexandre Tharaud and the period-instrument orchestra Les Siècles under its founder, François-Xavier Roth.
"Sabine Devieilhe cements her reputation as one of the most exciting sopranos on the scene with this disc...Lakmé is her favourite operatic role, and the greatest hits of Delibes’ opera get luxuriously good performances here. Devieilhe is mesmerising, sounding deliciously clear and radiant, and sings with a sensuality that seems absolutely innate." -The Guardian

Album out now: https://wmgartists.com/lp1/9879/grandopera
Giacomo Meyerbeer, the master of Parisian grand opera, was hugely successful in his time and a major influence on Verdi and Wagner. His music has fascinated Diana Damrau since her student days. With her brilliant coloratura, lyricism and dramatic power, the soprano rises triumphantly to the vocal and expressive challenges of arias from 10 of his operas, singing in French, Italian and German. Two of the arias receive their world premiere recording with this album.

Album out now: https://wmgartists.com/lp1/9879/grandopera
Giacomo Meyerbeer, the master of Parisian grand opera, was hugely successful in his time and a major influence on Verdi and Wagner. His music has fascinated Diana Damrau since her student days. With her brilliant coloratura, lyricism and dramatic power, the soprano rises triumphantly to the vocal and expressive challenges of arias from 10 of his operas, singing in French, Italian and German. Two of the arias receive their world premiere recording with this album.

The Greatest Showman SoundtrackAvailable Now!
Download/Stream now at https://Atlantic.lnk.to/TheGreatestShowman
See The Greatest Showman in Theaters Now with special sing along screenings: http://www.thegreatestshowmantickets.com/sing-a-long/
Follow The Greatest Showman
https://twitter.com/GreatestShowman
https://www.facebook.com/GreatestShowman
https://www.instagram.com/greatests

The Greatest Showman SoundtrackAvailable Now!
Download/Stream now at https://Atlantic.lnk.to/TheGreatestShowman
See The Greatest Showman in Theaters Now with special sing along screenings: http://www.thegreatestshowmantickets.com/sing-a-long/
Follow The Greatest Showman
https://twitter.com/GreatestShowman
https://www.facebook.com/GreatestShowman
https://www.instagram.com/greatests

Long Arms Records "Just Opera"

LongArmsRecords CDLA97030 "Just Opera"
"Just Opera" is the last this kind a Kuryokhin's project. He didn't finish it, he only created conception and dramat...

LongArmsRecords CDLA97030 "Just Opera"
"Just Opera" is the last this kind a Kuryokhin's project. He didn't finish it, he only created conception and dramaturgy of this record.
Everything else was made by Vyacheslav Guyvoronsky, musician, who closely worked with Sergey for a long time. OPERA is a collection of Kuryokhin's works for theatre and cinema. Good films and performances, but we didn't mention what - if you read this text from the beginning you must understand why. For a pity we didn't mention all the musicians. Recordings were made in different time and places with many different musicians - from persons close to Sergey to accidental session men - and their names were lost... Being afraid to convey anybody was the reason for us to 'forget' everybody. One can, by the way, understand that in spite of more or less work of different performers all the music on this CD was created by one person - Sergey Kuryokhin. We all (and musicians too) feel a great respect to him and dedicate this work to his memory.
composer and producer: Sergey Kuryokhin executive producer: Nick Dmitriev

LongArmsRecords CDLA97030 "Just Opera"
"Just Opera" is the last this kind a Kuryokhin's project. He didn't finish it, he only created conception and dramaturgy of this record.
Everything else was made by Vyacheslav Guyvoronsky, musician, who closely worked with Sergey for a long time. OPERA is a collection of Kuryokhin's works for theatre and cinema. Good films and performances, but we didn't mention what - if you read this text from the beginning you must understand why. For a pity we didn't mention all the musicians. Recordings were made in different time and places with many different musicians - from persons close to Sergey to accidental session men - and their names were lost... Being afraid to convey anybody was the reason for us to 'forget' everybody. One can, by the way, understand that in spite of more or less work of different performers all the music on this CD was created by one person - Sergey Kuryokhin. We all (and musicians too) feel a great respect to him and dedicate this work to his memory.
composer and producer: Sergey Kuryokhin executive producer: Nick Dmitriev

La Traviata (complete opera) recorded 1915

This is the complete recording of La Traviata, produced in Milano1915. The record-set contains records of 30 cm and in 25 cm. The records here are green HMV's.
The interpreters:
Margherita Bevignani, soprano (1887 - 1921).
In the beginning of her carreer she appeared in a number of Italian citys. She recorded this La Traviata in Milano in 1915. In that year she came to the Netherlands and she scored great success with her interpretation of La Traviata. As a result of WW 1 the borders were closed and she could not return. She stayed in the Netherlands during the rest of the war and gave many concerts. In 1918, just at the end of the war she felt ill: Spanish influenza, who took tenthousands of victems in the Netherlands. She died in 1921 in Milano
.
FrancoTumminello, tenor (1880 - ?)
...

National Opera Orchestra: Sorcerer's Apprentice (Varsity Records)

This is a re upload of this album. The first version I posted, the noise reduction was way to much, it sounded terrible. That said, I present you with a superior sounding version. The surface noise is quite present at times. This album showcases the often low quality (in terms of fidelity) recordings that Oberstein often used on his budget releases.
These recordings clearly came from 78 rpm recordings, as I could hear when sequential sides started (with a loud thump which I removed for this recording). The biggest give away is the clearly 40's sound (meaning not Hi-Fi in any way).
The track list goes like this
Side 1: Sorcerer's Apprentice (0:04)
Side 2: Dance Of The Polovetzky Maidens (10:30)
Please excuse the surface noise, what you hear here is nothing compared to the original's!

La Traviata (complete opera) recorded 1915

This is the complete recording of La Traviata, produced in Milano1915. The record-set contains records of 30 cm and in 25 cm. The records here are green HMV's...

This is the complete recording of La Traviata, produced in Milano1915. The record-set contains records of 30 cm and in 25 cm. The records here are green HMV's.
The interpreters:
Margherita Bevignani, soprano (1887 - 1921).
In the beginning of her carreer she appeared in a number of Italian citys. She recorded this La Traviata in Milano in 1915. In that year she came to the Netherlands and she scored great success with her interpretation of La Traviata. As a result of WW 1 the borders were closed and she could not return. She stayed in the Netherlands during the rest of the war and gave many concerts. In 1918, just at the end of the war she felt ill: Spanish influenza, who took tenthousands of victems in the Netherlands. She died in 1921 in Milano
.
FrancoTumminello, tenor (1880 - ?)
There is little known about this tenor. He made his debut in 1911 and appeared in Jesi, Torino and Roma. Anyway, he was the Tiruddi in the first recording of the complete Cavalleria Rusticana, also in 1915.
Ernesto Badini, bariton (1876 – 1937)
This world-famous bariton was guest in all the great theatres of Italy and de rest of Europe, as well in South America. He participated in some Opera-premieres, so as Piccolo Marat (Mascagni), La cena delle Beffe (Giordano) and Sly (Wolf-Ferrari).

This is the complete recording of La Traviata, produced in Milano1915. The record-set contains records of 30 cm and in 25 cm. The records here are green HMV's.
The interpreters:
Margherita Bevignani, soprano (1887 - 1921).
In the beginning of her carreer she appeared in a number of Italian citys. She recorded this La Traviata in Milano in 1915. In that year she came to the Netherlands and she scored great success with her interpretation of La Traviata. As a result of WW 1 the borders were closed and she could not return. She stayed in the Netherlands during the rest of the war and gave many concerts. In 1918, just at the end of the war she felt ill: Spanish influenza, who took tenthousands of victems in the Netherlands. She died in 1921 in Milano
.
FrancoTumminello, tenor (1880 - ?)
There is little known about this tenor. He made his debut in 1911 and appeared in Jesi, Torino and Roma. Anyway, he was the Tiruddi in the first recording of the complete Cavalleria Rusticana, also in 1915.
Ernesto Badini, bariton (1876 – 1937)
This world-famous bariton was guest in all the great theatres of Italy and de rest of Europe, as well in South America. He participated in some Opera-premieres, so as Piccolo Marat (Mascagni), La cena delle Beffe (Giordano) and Sly (Wolf-Ferrari).

Duca di Mantova: Fernando de Lucia (Tenor)
Rigoletto: Antonio Armentano Anticorona (Baritone)
Sparafucile / Monterone / Marullo: Luis Muñoz (Basso)
Gilda: Angela de Angelis (Soprano)
Contessa di Ceprano / Maddalena: Vida Ferluga (Mezzo)
Orchestra e Coro del Teatro di San Carlo di Napoli
Salvatore Sassano, conductor
Phonotype Records (Napoli, 1915-18)
-------------------------------------
ATTO I
Preludio (0:00)
Questa o quella (2:21)
Ch'io gli parli (12:05)
Oh tu che la festa audace hai turbato (15:28)
Quel vecchio maledivami!...Pari siamo (16:25)
Figlia! - Mio padre! (24:36)
Deh non parlare al misero (26:36)
È il sol dell'anima (38:00)
Gualtier Maldè!... Caro nome (43:36)
Riedo!... perché?... Zitti, zitti (49:04)
ATTO II
Ella mi fu rapita!... Parmi veder le lagrime (54:03)
Povero Rigoletto!... Cortigiani, vil razza dannata (1:02:08)
Solo per me l'infamia... Piangi, piangi (1:10:01)
Sì! vendetta, tremenda vendetta (1:15:18)
ATTO IIILa donna è mobile (1:17:20)
Bella figlia dell'amore (1:20:38)
M'odi!... Della vendetta alfin giunge l'istante (1:26:55)
Chi è mai in sua vece?... V'ho ingannato (1:43:00)
-------------------------------------
19th century opera divo Fernando de Lucia (Naples 1860-1925) made more than three hundred records for "Phonotype Record", especially the complete recordings of Il Barbiere di Siviglia and Rigoletto. The technical standard of the Phonotype recordings is, fortunately, very high, with the voice well to the fore. Downward transposition in no way diminishes the sensational effect of such masterpieces of finished bel canto phrasing as De Lucia's "Questa o quella" (4:24).
During the early years De Lucia's repertoire consisted mainly of lyrical operas such as La Traviata, Rigoletto, Il Barbiere di Siviglia, Don Giovanni, Lucrezia Borgia, L'Elisir d'amore, La Favorita. He kept the first four of these works in his repertoire until the early 1900s. In the Phonotype records made between the ages of fifty-six and sixty-one the voice sounds more mature, a little darker throughout, but there are no signs of age other than the little bit more effort needed to reach the highest notes, and a little bit more shortness of breath. One might even say that, after his retirement from opera, daily practice and longer periods of rest made the voice more homogeneous in scale while he retained almost unimpaired the flexibility of the head voice and all his beloved "lacreme" (tears - his own name for his beautifully expressive diminuendo). The vibrato is less aggressive in these late records. The tone frequently strikes us as more beautiful than in the earlier records.
Like Tamagno, Celestina Boninsegna, and the young Callas, De Lucia chooses to sing slowly. He recorded very few pieces of quick music, and when he did, he usually employed his mezza voce, in which he could sing either quick patter or agility passages with such stimulating accuracy and brio that one does not miss the full voice. His loving lingering over individual phrases can be exasperating... Maestro Sassano has no choice but to accompany the tenor in his languishing statements, but then he whips up the tempo impatiently when Angela de Angelis comes in: she is made to sing in time, but when the divo re-enters the orchestra is pulled back suddenly to the linger-longer...
If we listen to Caruso's record of "La donna è mobile" (1:17:20) immediately afterwards, we may note, with some surprise, that this far more modern tenor also smooths over quite a lot of dotted notes and sings even more ornaments! Both tenors phrase in a typically nineteenth-century manner: a loud phrase will be followed by a softer one, almost an "echo effect", and the tempo will slow down for the softer phrase. Caruso suggests a toying with the sustained G-sharp on the word "accento" without actually being able to perform the traditional diminuendo; De Lucia makes a great feature of the gradual fining down of the tone on this note (G-natural in his version).
There is plenty of evidence that tempi were slower and more sedate in the nineteenth century. According to Herman Klein, it was Luigi Mancinelli who first began to hurry things along at Covent Garden, introducing faster tempi, although Mapleson cylinders of Mancinelli conducting opera live at the Metropolitan in 1903, for example in Ernani, Aida, and Tosca, show tempi that are slower, on the whole, than we are accustomed to hear today, with plenty of rubato.
-------------------------------------

Duca di Mantova: Fernando de Lucia (Tenor)
Rigoletto: Antonio Armentano Anticorona (Baritone)
Sparafucile / Monterone / Marullo: Luis Muñoz (Basso)
Gilda: Angela de Angelis (Soprano)
Contessa di Ceprano / Maddalena: Vida Ferluga (Mezzo)
Orchestra e Coro del Teatro di San Carlo di Napoli
Salvatore Sassano, conductor
Phonotype Records (Napoli, 1915-18)
-------------------------------------
ATTO I
Preludio (0:00)
Questa o quella (2:21)
Ch'io gli parli (12:05)
Oh tu che la festa audace hai turbato (15:28)
Quel vecchio maledivami!...Pari siamo (16:25)
Figlia! - Mio padre! (24:36)
Deh non parlare al misero (26:36)
È il sol dell'anima (38:00)
Gualtier Maldè!... Caro nome (43:36)
Riedo!... perché?... Zitti, zitti (49:04)
ATTO II
Ella mi fu rapita!... Parmi veder le lagrime (54:03)
Povero Rigoletto!... Cortigiani, vil razza dannata (1:02:08)
Solo per me l'infamia... Piangi, piangi (1:10:01)
Sì! vendetta, tremenda vendetta (1:15:18)
ATTO IIILa donna è mobile (1:17:20)
Bella figlia dell'amore (1:20:38)
M'odi!... Della vendetta alfin giunge l'istante (1:26:55)
Chi è mai in sua vece?... V'ho ingannato (1:43:00)
-------------------------------------
19th century opera divo Fernando de Lucia (Naples 1860-1925) made more than three hundred records for "Phonotype Record", especially the complete recordings of Il Barbiere di Siviglia and Rigoletto. The technical standard of the Phonotype recordings is, fortunately, very high, with the voice well to the fore. Downward transposition in no way diminishes the sensational effect of such masterpieces of finished bel canto phrasing as De Lucia's "Questa o quella" (4:24).
During the early years De Lucia's repertoire consisted mainly of lyrical operas such as La Traviata, Rigoletto, Il Barbiere di Siviglia, Don Giovanni, Lucrezia Borgia, L'Elisir d'amore, La Favorita. He kept the first four of these works in his repertoire until the early 1900s. In the Phonotype records made between the ages of fifty-six and sixty-one the voice sounds more mature, a little darker throughout, but there are no signs of age other than the little bit more effort needed to reach the highest notes, and a little bit more shortness of breath. One might even say that, after his retirement from opera, daily practice and longer periods of rest made the voice more homogeneous in scale while he retained almost unimpaired the flexibility of the head voice and all his beloved "lacreme" (tears - his own name for his beautifully expressive diminuendo). The vibrato is less aggressive in these late records. The tone frequently strikes us as more beautiful than in the earlier records.
Like Tamagno, Celestina Boninsegna, and the young Callas, De Lucia chooses to sing slowly. He recorded very few pieces of quick music, and when he did, he usually employed his mezza voce, in which he could sing either quick patter or agility passages with such stimulating accuracy and brio that one does not miss the full voice. His loving lingering over individual phrases can be exasperating... Maestro Sassano has no choice but to accompany the tenor in his languishing statements, but then he whips up the tempo impatiently when Angela de Angelis comes in: she is made to sing in time, but when the divo re-enters the orchestra is pulled back suddenly to the linger-longer...
If we listen to Caruso's record of "La donna è mobile" (1:17:20) immediately afterwards, we may note, with some surprise, that this far more modern tenor also smooths over quite a lot of dotted notes and sings even more ornaments! Both tenors phrase in a typically nineteenth-century manner: a loud phrase will be followed by a softer one, almost an "echo effect", and the tempo will slow down for the softer phrase. Caruso suggests a toying with the sustained G-sharp on the word "accento" without actually being able to perform the traditional diminuendo; De Lucia makes a great feature of the gradual fining down of the tone on this note (G-natural in his version).
There is plenty of evidence that tempi were slower and more sedate in the nineteenth century. According to Herman Klein, it was Luigi Mancinelli who first began to hurry things along at Covent Garden, introducing faster tempi, although Mapleson cylinders of Mancinelli conducting opera live at the Metropolitan in 1903, for example in Ernani, Aida, and Tosca, show tempi that are slower, on the whole, than we are accustomed to hear today, with plenty of rubato.
-------------------------------------

Mercedes Capsir - Violetta ValeryLionello Cecil - Alfredo GermontCarlo Galeffi - Giorgio GermontToscanini'sLa Scala colleague Lorenzo Molajoli conducts the Orchestra and Chorus of La Scala, Milan.
(Recorded from 1st to 22nd November 1928)
Cavaliere Lorenzo Molajoli (1868-1939) conducted twenty complete or abridged operas for Columbia Records between 1928 and 1932. This is a great Traviata, absolutely worthy of inclusion in a serious Verdi collection. Capsir is a terrific Violetta, navigating the rigors of the part with the surety of a master singer. Her 'Sempre libera' (25:54) is quite astonishing, and her 'Addio, del passato' (1:30:20) is worthy of comparison to any other version I know of. I am partial to Stracciari's 'Di Provenza' (https://www.youtube.com/watch?v=OB1J9mut_q4), but Carlo Galeffi's version here (54:52) is admirably well sung, with a long line and beautiful tone. I'm not terribly impressed with Lionello Cecil's Alfredo, although I can't remember the last time I was thrilled by anybody singing the role (he's something of a foil for her the whole piece).
Don't miss Capsir's 1914 solo recording of 'Sempre libera' at https://www.youtube.com/watch?v=OB1J9...
No living soprano could outsing Mercedes Capsir.
-------------------------------------
Act 1
The salon in Violetta's house (03:58). Violetta - the consumptive heroine with a dodgy past - gives a party (Libiamo ne' lieti calici, 08:57) at which one of the guests, a young man called Alfredo, declares his undying love for her (Un dì, felice, eterea, 14:28). As everyone leaves, Violetta wonders if this really can be true love (Ah, fors'è lui, 22:08) but then dismisses the idea. In 'Sempre libera' (25:54) she declares that she will just enjoy life, drinking and partying, always laughing and never miserable. Alfredo is heard off-stage, singing of universal love, while Violetta declares that love for her cannot be possible and asks instead for her freedom to be happy.
Act 2
Violetta's country house outside Paris (29:34). Three months later, Alfredo and Violetta are living together (Alfredo: De' miei bollenti spiriti, 31:12). Alfredo's father, Giorgio, demands that she break off her relationship with his son for the sake of his family, since he reveals that Violetta's relationship with Alfredo has threatened his daughter's engagement (Pura siccome un angelo, 36:41) because of Violetta's reputation. With growing remorse, she finally agrees (Dite alla giovine sì bella e pura, 43:09). As she is writing a farewell letter to Alfredo, he enters. She can barely control her sadness and tears (Amami, Alfredo, 53:02). Giorgio returns and attempts to comfort his son (Di Provenza il mar, 54:52), but Alfredo rushes out...
Party at Flora's house (59:22). Flora calls for the entertainers to perform for the guests (Chorus: Noi siamo zingarelle, 1:00:32; Di Madride noi siam mattadori, 1:03:15). Violetta arrives with Baron Douphol. As everyone is leaving the room, Violetta has asked Alfredo to see her. Alfredo misunderstands her apprehension and demands that she admit that she loves the Baron. In grief, she makes that admission and, furiously, Alfredo calls the guests to witness what he has to say (Questa donna conoscete?, 1:12:38). She faints onto the floor. Giorgio enters the hall (Di sprezzo degno sè stesso rende). Violetta turns to Alfredo (Alfredo, Alfredo... 1:16:31).
Act 3
Violetta's bedroom (1:20:42). Violetta will not live long since her tuberculosis has worsened. Alone in her room, she reads a letter from Alfredo's father (Teneste la promessa, 1:28:33), but she senses it is too late (Addio, del passato, 1:30:20). The lovers are reunited and Alfredo suggests that they leave Paris (Parigi, o cara, noi lasceremo, 1:35:46). She knows her time is up (Gran Dio!...morir sì giovane, 1:41:08). A moment later, she dies in Alfredo's arms.
-------------------------------------
Il Barbiere di Siviglia - Mercedes Capsir - La Scala 1929 (CompleteOperaRossini):
https://www.youtube.com/watch?v=7uRDe...
Lucia di Lammermoor - Mercedes Capsir - La Scala 1929 (Complete Opera Donizetti):
https://www.youtube.com/watch?v=AgIhh...
LA TRAVIATA - Belle EpoqueRecordings:
https://www.youtube.com/watch?v=OB1J9...
LA TRAVIATA Recordings 1904-1914:
https://www.youtube.com/watch?v=F8FM2...
LA TRAVIATA - Maria Callas, Lisbon1958 (Complete Opera Verdi):
https://www.youtube.com/watch?v=4oJwd...
LA TRAVIATA - Carlos Kleiber1977 (Complete Opera Verdi):
https://www.youtube.com/watch?v=00S8C...
LA TRAVIATA - Riccardo Muti (Rehearsal) La Scala 1992 (Complete Opera Verdi):
https://www.youtube.com/watch?v=wUZNL...
Ah, fors'è lui ~ Maria Callas, Regina Pacini, Luisa Tetrazzini, and...
https://www.youtube.com/watch?v=O5k3Q...
Teneste la promessa - Toscanini vs. Claudia Muzio (La Traviata):
https://www.youtube.com/watch?v=lJw2n...
-------------------------------------

Mercedes Capsir - Violetta ValeryLionello Cecil - Alfredo GermontCarlo Galeffi - Giorgio GermontToscanini'sLa Scala colleague Lorenzo Molajoli conducts the Orchestra and Chorus of La Scala, Milan.
(Recorded from 1st to 22nd November 1928)
Cavaliere Lorenzo Molajoli (1868-1939) conducted twenty complete or abridged operas for Columbia Records between 1928 and 1932. This is a great Traviata, absolutely worthy of inclusion in a serious Verdi collection. Capsir is a terrific Violetta, navigating the rigors of the part with the surety of a master singer. Her 'Sempre libera' (25:54) is quite astonishing, and her 'Addio, del passato' (1:30:20) is worthy of comparison to any other version I know of. I am partial to Stracciari's 'Di Provenza' (https://www.youtube.com/watch?v=OB1J9mut_q4), but Carlo Galeffi's version here (54:52) is admirably well sung, with a long line and beautiful tone. I'm not terribly impressed with Lionello Cecil's Alfredo, although I can't remember the last time I was thrilled by anybody singing the role (he's something of a foil for her the whole piece).
Don't miss Capsir's 1914 solo recording of 'Sempre libera' at https://www.youtube.com/watch?v=OB1J9...
No living soprano could outsing Mercedes Capsir.
-------------------------------------
Act 1
The salon in Violetta's house (03:58). Violetta - the consumptive heroine with a dodgy past - gives a party (Libiamo ne' lieti calici, 08:57) at which one of the guests, a young man called Alfredo, declares his undying love for her (Un dì, felice, eterea, 14:28). As everyone leaves, Violetta wonders if this really can be true love (Ah, fors'è lui, 22:08) but then dismisses the idea. In 'Sempre libera' (25:54) she declares that she will just enjoy life, drinking and partying, always laughing and never miserable. Alfredo is heard off-stage, singing of universal love, while Violetta declares that love for her cannot be possible and asks instead for her freedom to be happy.
Act 2
Violetta's country house outside Paris (29:34). Three months later, Alfredo and Violetta are living together (Alfredo: De' miei bollenti spiriti, 31:12). Alfredo's father, Giorgio, demands that she break off her relationship with his son for the sake of his family, since he reveals that Violetta's relationship with Alfredo has threatened his daughter's engagement (Pura siccome un angelo, 36:41) because of Violetta's reputation. With growing remorse, she finally agrees (Dite alla giovine sì bella e pura, 43:09). As she is writing a farewell letter to Alfredo, he enters. She can barely control her sadness and tears (Amami, Alfredo, 53:02). Giorgio returns and attempts to comfort his son (Di Provenza il mar, 54:52), but Alfredo rushes out...
Party at Flora's house (59:22). Flora calls for the entertainers to perform for the guests (Chorus: Noi siamo zingarelle, 1:00:32; Di Madride noi siam mattadori, 1:03:15). Violetta arrives with Baron Douphol. As everyone is leaving the room, Violetta has asked Alfredo to see her. Alfredo misunderstands her apprehension and demands that she admit that she loves the Baron. In grief, she makes that admission and, furiously, Alfredo calls the guests to witness what he has to say (Questa donna conoscete?, 1:12:38). She faints onto the floor. Giorgio enters the hall (Di sprezzo degno sè stesso rende). Violetta turns to Alfredo (Alfredo, Alfredo... 1:16:31).
Act 3
Violetta's bedroom (1:20:42). Violetta will not live long since her tuberculosis has worsened. Alone in her room, she reads a letter from Alfredo's father (Teneste la promessa, 1:28:33), but she senses it is too late (Addio, del passato, 1:30:20). The lovers are reunited and Alfredo suggests that they leave Paris (Parigi, o cara, noi lasceremo, 1:35:46). She knows her time is up (Gran Dio!...morir sì giovane, 1:41:08). A moment later, she dies in Alfredo's arms.
-------------------------------------
Il Barbiere di Siviglia - Mercedes Capsir - La Scala 1929 (CompleteOperaRossini):
https://www.youtube.com/watch?v=7uRDe...
Lucia di Lammermoor - Mercedes Capsir - La Scala 1929 (Complete Opera Donizetti):
https://www.youtube.com/watch?v=AgIhh...
LA TRAVIATA - Belle EpoqueRecordings:
https://www.youtube.com/watch?v=OB1J9...
LA TRAVIATA Recordings 1904-1914:
https://www.youtube.com/watch?v=F8FM2...
LA TRAVIATA - Maria Callas, Lisbon1958 (Complete Opera Verdi):
https://www.youtube.com/watch?v=4oJwd...
LA TRAVIATA - Carlos Kleiber1977 (Complete Opera Verdi):
https://www.youtube.com/watch?v=00S8C...
LA TRAVIATA - Riccardo Muti (Rehearsal) La Scala 1992 (Complete Opera Verdi):
https://www.youtube.com/watch?v=wUZNL...
Ah, fors'è lui ~ Maria Callas, Regina Pacini, Luisa Tetrazzini, and...
https://www.youtube.com/watch?v=O5k3Q...
Teneste la promessa - Toscanini vs. Claudia Muzio (La Traviata):
https://www.youtube.com/watch?v=lJw2n...
-------------------------------------

National Opera Orchestra: Sorcerer's Apprentice (Varsity Records)

This is a re upload of this album. The first version I posted, the noise reduction was way to much, it sounded terrible. That said, I present you with a superio...

This is a re upload of this album. The first version I posted, the noise reduction was way to much, it sounded terrible. That said, I present you with a superior sounding version. The surface noise is quite present at times. This album showcases the often low quality (in terms of fidelity) recordings that Oberstein often used on his budget releases.
These recordings clearly came from 78 rpm recordings, as I could hear when sequential sides started (with a loud thump which I removed for this recording). The biggest give away is the clearly 40's sound (meaning not Hi-Fi in any way).
The track list goes like this
Side 1: Sorcerer's Apprentice (0:04)
Side 2: Dance Of The Polovetzky Maidens (10:30)
Please excuse the surface noise, what you hear here is nothing compared to the original's!

This is a re upload of this album. The first version I posted, the noise reduction was way to much, it sounded terrible. That said, I present you with a superior sounding version. The surface noise is quite present at times. This album showcases the often low quality (in terms of fidelity) recordings that Oberstein often used on his budget releases.
These recordings clearly came from 78 rpm recordings, as I could hear when sequential sides started (with a loud thump which I removed for this recording). The biggest give away is the clearly 40's sound (meaning not Hi-Fi in any way).
The track list goes like this
Side 1: Sorcerer's Apprentice (0:04)
Side 2: Dance Of The Polovetzky Maidens (10:30)
Please excuse the surface noise, what you hear here is nothing compared to the original's!

KAAZE feat. Elle Vee - Opera (Official Music Video)

KAAZE feat. Elle Vee - Opera is OUT NOW on MAXXIMIZE! Like this track? Download on Beatport or add it to your favourite Spotify/Apple Music playlist by clicking HERE: https://maxximize.release.link/opera!YT
Join our Spinnin' Records Top 100Playlist ► https://spinninrecords.lnk.to/top100!YT
KAAZE is going sky high with this Opera. Featuring Elle Vee this track is a true work of art, featuring grand opera vocals and big chords before unleashing a raving drop, full of tension and energy. Music to get the show going, and the crowd go crazy!
Follow KAAZE:
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As a result of many requests for early opera recordings from my collection I have unearthed a few of my early Adelina Patti (1843-1919) recordings. Recorded on the scarce VICTOR "PATTI" RECORD label (dedicated solely to her recordings - a VERY unusual honor by the Victor Talking Machine Company for a precious few opera legends), this is Patti's immortal rendition of "Old Folks At Home". Well past her prime by the time recording was available, Adelina Patti was still able to provide the listener with a glimpse of her legendary voice. I must confess that I'm not a fan of opera but I do appreciate all very early recordings and I will always treasure my early VICTOR "PATTI" records. About 17 years ago I purchased a group of very early opera records that included a number of these VICTOR "PATTI" records as well as VICTOR "MELBA" records. Thanks for stopping in and I hope you enjoy the video.

Sabine Devieilhe records 'Mirages' - French opera arias, Lakmé

Album out now: http://wnrcl.me/mirages
SopranoSabine Devieilhe’s signature operatic role, Lakmé, forms the starting point for her enticing albumMirages. A collection of opera and song in French, its theme is the exotic allure of faraway – and imagined – places and people. In addition to three numbers from Delibes’ opera, it features music by Berlioz, Debussy and Stravinsky and some rarer names: Thomas, Messager, Koechlin and Delage. Devieilhe is joined by mezzo-soprano Marianne Crebassa, pianist Alexandre Tharaud and the period-instrument orchestra Les Siècles under its founder, François-Xavier Roth.
"Sabine Devieilhe cements her reputation as one of the most exciting sopranos on the scene with this disc...Lakmé is her favourite operatic role, and the greatest hits of Delibes’ opera get luxuriously good performances here. Devieilhe is mesmerising, sounding deliciously clear and radiant, and sings with a sensuality that seems absolutely innate." -The Guardian

Album out now: https://wmgartists.com/lp1/9879/grandopera
Giacomo Meyerbeer, the master of Parisian grand opera, was hugely successful in his time and a major influence on Verdi and Wagner. His music has fascinated Diana Damrau since her student days. With her brilliant coloratura, lyricism and dramatic power, the soprano rises triumphantly to the vocal and expressive challenges of arias from 10 of his operas, singing in French, Italian and German. Two of the arias receive their world premiere recording with this album.

The Greatest Showman - Never Enough [Official Lyric Video]

The Greatest Showman SoundtrackAvailable Now!
Download/Stream now at https://Atlantic.lnk.to/TheGreatestShowman
See The Greatest Showman in Theaters Now with special sing along screenings: http://www.thegreatestshowmantickets.com/sing-a-long/
Follow The Greatest Showman
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La Traviata (complete opera) recorded 1915

This is the complete recording of La Traviata, produced in Milano1915. The record-set contains records of 30 cm and in 25 cm. The records here are green HMV's.
The interpreters:
Margherita Bevignani, soprano (1887 - 1921).
In the beginning of her carreer she appeared in a number of Italian citys. She recorded this La Traviata in Milano in 1915. In that year she came to the Netherlands and she scored great success with her interpretation of La Traviata. As a result of WW 1 the borders were closed and she could not return. She stayed in the Netherlands during the rest of the war and gave many concerts. In 1918, just at the end of the war she felt ill: Spanish influenza, who took tenthousands of victems in the Netherlands. She died in 1921 in Milano
.
FrancoTumminello, tenor (1880 - ?)
There is little known about this tenor. He made his debut in 1911 and appeared in Jesi, Torino and Roma. Anyway, he was the Tiruddi in the first recording of the complete Cavalleria Rusticana, also in 1915.
Ernesto Badini, bariton (1876 – 1937)
This world-famous bariton was guest in all the great theatres of Italy and de rest of Europe, as well in South America. He participated in some Opera-premieres, so as Piccolo Marat (Mascagni), La cena delle Beffe (Giordano) and Sly (Wolf-Ferrari).

Duca di Mantova: Fernando de Lucia (Tenor)
Rigoletto: Antonio Armentano Anticorona (Baritone)
Sparafucile / Monterone / Marullo: Luis Muñoz (Basso)
Gilda: Angela de Angelis (Soprano)
Contessa di Ceprano / Maddalena: Vida Ferluga (Mezzo)
Orchestra e Coro del Teatro di San Carlo di Napoli
Salvatore Sassano, conductor
Phonotype Records (Napoli, 1915-18)
-------------------------------------
ATTO I
Preludio (0:00)
Questa o quella (2:21)
Ch'io gli parli (12:05)
Oh tu che la festa audace hai turbato (15:28)
Quel vecchio maledivami!...Pari siamo (16:25)
Figlia! - Mio padre! (24:36)
Deh non parlare al misero (26:36)
È il sol dell'anima (38:00)
Gualtier Maldè!... Caro nome (43:36)
Riedo!... perché?... Zitti, zitti (49:04)
ATTO II
Ella mi fu rapita!... Parmi veder le lagrime (54:03)
Povero Rigoletto!... Cortigiani, vil razza dannata (1:02:08)
Solo per me l'infamia... Piangi, piangi (1:10:01)
Sì! vendetta, tremenda vendetta (1:15:18)
ATTO IIILa donna è mobile (1:17:20)
Bella figlia dell'amore (1:20:38)
M'odi!... Della vendetta alfin giunge l'istante (1:26:55)
Chi è mai in sua vece?... V'ho ingannato (1:43:00)
-------------------------------------
19th century opera divo Fernando de Lucia (Naples 1860-1925) made more than three hundred records for "Phonotype Record", especially the complete recordings of Il Barbiere di Siviglia and Rigoletto. The technical standard of the Phonotype recordings is, fortunately, very high, with the voice well to the fore. Downward transposition in no way diminishes the sensational effect of such masterpieces of finished bel canto phrasing as De Lucia's "Questa o quella" (4:24).
During the early years De Lucia's repertoire consisted mainly of lyrical operas such as La Traviata, Rigoletto, Il Barbiere di Siviglia, Don Giovanni, Lucrezia Borgia, L'Elisir d'amore, La Favorita. He kept the first four of these works in his repertoire until the early 1900s. In the Phonotype records made between the ages of fifty-six and sixty-one the voice sounds more mature, a little darker throughout, but there are no signs of age other than the little bit more effort needed to reach the highest notes, and a little bit more shortness of breath. One might even say that, after his retirement from opera, daily practice and longer periods of rest made the voice more homogeneous in scale while he retained almost unimpaired the flexibility of the head voice and all his beloved "lacreme" (tears - his own name for his beautifully expressive diminuendo). The vibrato is less aggressive in these late records. The tone frequently strikes us as more beautiful than in the earlier records.
Like Tamagno, Celestina Boninsegna, and the young Callas, De Lucia chooses to sing slowly. He recorded very few pieces of quick music, and when he did, he usually employed his mezza voce, in which he could sing either quick patter or agility passages with such stimulating accuracy and brio that one does not miss the full voice. His loving lingering over individual phrases can be exasperating... Maestro Sassano has no choice but to accompany the tenor in his languishing statements, but then he whips up the tempo impatiently when Angela de Angelis comes in: she is made to sing in time, but when the divo re-enters the orchestra is pulled back suddenly to the linger-longer...
If we listen to Caruso's record of "La donna è mobile" (1:17:20) immediately afterwards, we may note, with some surprise, that this far more modern tenor also smooths over quite a lot of dotted notes and sings even more ornaments! Both tenors phrase in a typically nineteenth-century manner: a loud phrase will be followed by a softer one, almost an "echo effect", and the tempo will slow down for the softer phrase. Caruso suggests a toying with the sustained G-sharp on the word "accento" without actually being able to perform the traditional diminuendo; De Lucia makes a great feature of the gradual fining down of the tone on this note (G-natural in his version).
There is plenty of evidence that tempi were slower and more sedate in the nineteenth century. According to Herman Klein, it was Luigi Mancinelli who first began to hurry things along at Covent Garden, introducing faster tempi, although Mapleson cylinders of Mancinelli conducting opera live at the Metropolitan in 1903, for example in Ernani, Aida, and Tosca, show tempi that are slower, on the whole, than we are accustomed to hear today, with plenty of rubato.
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LA TRAVIATA - La Scala 1928 (Complete Opera Verdi)

Mercedes Capsir - Violetta ValeryLionello Cecil - Alfredo GermontCarlo Galeffi - Giorgio GermontToscanini'sLa Scala colleague Lorenzo Molajoli conducts the Orchestra and Chorus of La Scala, Milan.
(Recorded from 1st to 22nd November 1928)
Cavaliere Lorenzo Molajoli (1868-1939) conducted twenty complete or abridged operas for Columbia Records between 1928 and 1932. This is a great Traviata, absolutely worthy of inclusion in a serious Verdi collection. Capsir is a terrific Violetta, navigating the rigors of the part with the surety of a master singer. Her 'Sempre libera' (25:54) is quite astonishing, and her 'Addio, del passato' (1:30:20) is worthy of comparison to any other version I know of. I am partial to Stracciari's 'Di Provenza' (https://www.youtube.com/watch?v=OB1J9mut_q4), but Carlo Galeffi's version here (54:52) is admirably well sung, with a long line and beautiful tone. I'm not terribly impressed with Lionello Cecil's Alfredo, although I can't remember the last time I was thrilled by anybody singing the role (he's something of a foil for her the whole piece).
Don't miss Capsir's 1914 solo recording of 'Sempre libera' at https://www.youtube.com/watch?v=OB1J9...
No living soprano could outsing Mercedes Capsir.
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Act 1
The salon in Violetta's house (03:58). Violetta - the consumptive heroine with a dodgy past - gives a party (Libiamo ne' lieti calici, 08:57) at which one of the guests, a young man called Alfredo, declares his undying love for her (Un dì, felice, eterea, 14:28). As everyone leaves, Violetta wonders if this really can be true love (Ah, fors'è lui, 22:08) but then dismisses the idea. In 'Sempre libera' (25:54) she declares that she will just enjoy life, drinking and partying, always laughing and never miserable. Alfredo is heard off-stage, singing of universal love, while Violetta declares that love for her cannot be possible and asks instead for her freedom to be happy.
Act 2
Violetta's country house outside Paris (29:34). Three months later, Alfredo and Violetta are living together (Alfredo: De' miei bollenti spiriti, 31:12). Alfredo's father, Giorgio, demands that she break off her relationship with his son for the sake of his family, since he reveals that Violetta's relationship with Alfredo has threatened his daughter's engagement (Pura siccome un angelo, 36:41) because of Violetta's reputation. With growing remorse, she finally agrees (Dite alla giovine sì bella e pura, 43:09). As she is writing a farewell letter to Alfredo, he enters. She can barely control her sadness and tears (Amami, Alfredo, 53:02). Giorgio returns and attempts to comfort his son (Di Provenza il mar, 54:52), but Alfredo rushes out...
Party at Flora's house (59:22). Flora calls for the entertainers to perform for the guests (Chorus: Noi siamo zingarelle, 1:00:32; Di Madride noi siam mattadori, 1:03:15). Violetta arrives with Baron Douphol. As everyone is leaving the room, Violetta has asked Alfredo to see her. Alfredo misunderstands her apprehension and demands that she admit that she loves the Baron. In grief, she makes that admission and, furiously, Alfredo calls the guests to witness what he has to say (Questa donna conoscete?, 1:12:38). She faints onto the floor. Giorgio enters the hall (Di sprezzo degno sè stesso rende). Violetta turns to Alfredo (Alfredo, Alfredo... 1:16:31).
Act 3
Violetta's bedroom (1:20:42). Violetta will not live long since her tuberculosis has worsened. Alone in her room, she reads a letter from Alfredo's father (Teneste la promessa, 1:28:33), but she senses it is too late (Addio, del passato, 1:30:20). The lovers are reunited and Alfredo suggests that they leave Paris (Parigi, o cara, noi lasceremo, 1:35:46). She knows her time is up (Gran Dio!...morir sì giovane, 1:41:08). A moment later, she dies in Alfredo's arms.
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Il Barbiere di Siviglia - Mercedes Capsir - La Scala 1929 (CompleteOperaRossini):
https://www.youtube.com/watch?v=7uRDe...
Lucia di Lammermoor - Mercedes Capsir - La Scala 1929 (Complete Opera Donizetti):
https://www.youtube.com/watch?v=AgIhh...
LA TRAVIATA - Belle EpoqueRecordings:
https://www.youtube.com/watch?v=OB1J9...
LA TRAVIATA Recordings 1904-1914:
https://www.youtube.com/watch?v=F8FM2...
LA TRAVIATA - Maria Callas, Lisbon1958 (Complete Opera Verdi):
https://www.youtube.com/watch?v=4oJwd...
LA TRAVIATA - Carlos Kleiber1977 (Complete Opera Verdi):
https://www.youtube.com/watch?v=00S8C...
LA TRAVIATA - Riccardo Muti (Rehearsal) La Scala 1992 (Complete Opera Verdi):
https://www.youtube.com/watch?v=wUZNL...
Ah, fors'è lui ~ Maria Callas, Regina Pacini, Luisa Tetrazzini, and...
https://www.youtube.com/watch?v=O5k3Q...
Teneste la promessa - Toscanini vs. Claudia Muzio (La Traviata):
https://www.youtube.com/watch?v=lJw2n...
-------------------------------------

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